French's International Copyrighted (in England, her Col- 
onies, and the United States) Edition of the 
Works of the Best Authors 




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The Mysterious Will 



JIN ORIGINAL PLAYLET 
IN ONE ACT 



BY 

HAROLD SELMAN 



Copyright, 1914, By HAROLD SELMAN 
Under the title of "AT 2 A, M." 

Copyright, 1921, By SAMUEL FRENCH 



All rights reserved 



PRICE, 30 CENTS 



NEW YORK 

Samuel French 

Publisher 

28-30 West 38th Street 



I/DNDON 

Samuel French, Ltd. 

26 Southampton Street 

Strand 



BILLETED. 

A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, 
5 females. One easy interior scene. A charming comedy, constructed 
with uncommon skill, and abounds with clever lines. Margaret Anglin's 
big Success. Amateurs will find this comedy easy to produce and popular 
with all audiences. Price, 60 Cents. 

NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. 5 males, 6 females. Cos- 
tumes, modern. Two interior scenes. Plays 2 x / 2 hours. 

Is it possible to tell the absolute truth— even for twenty-four hours? It is— 
at least Bob Bennett, the hero of "Nothing But the Truth," accomplished the 
feat. The bet he made with his business partners, and the trouble he got into— 
with his partners, his friends, and his fiancee— this is the subject of William 
Collier's tremendous comedy hit. "Nothing But the Truth" can be whole-heartedly 
recommended as one of the most sprightly, amusing and popular comedies that 
this country can boast. Price, 60 Cents. 

IN WALKED JIMMY. 

A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 2 females (although 
any # number of males and females may be used as clerks, etc.) Two 
interior scenes. Costumes, modern. Plays 2]/ 2 hours. The thing into 
which Jimmy walked was a broken-down shoe factory, when the clerks 
had all been fired, and when the proprietor was in serious contemplation 
of s t uicide. 

Jimmy, nothing else* but plain Jimmy, would have been a mysterious figure 
had it not been for his matter-of-fact manner, his smile and his everlasting 
humanness. He put the shoe business on its feet, won the heart of the girl 
clerk, saved her erring brother from jail, escaped that place as a permanent 
boarding house himself, and foiled the villain. 

Clean, wholesome comedy with just a touch of human nature, just a dash of 
excitement and more than a little bit of true philosophy make "In Walked Jimmy" 
one of the most delightful of plays. Jimmy is full of the religion of life, the 
religion of happiness and the. religion of helpfulness", and he so permeates^ the 
atmosphere with his "religion" that everyone is happy. The spirit of optimism, 
good cheer, and hearty laughter dominates the play. There is not a dull moment 
in any of the four acts. We strongly recommend it. Price, 60 Cents. 

MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. Lippmann, author of 
the "Martha" stories. 5 males, 5 females. Three interior scenes. Cos- 
tumes modern. Plays 2y 2 hours. 

It is altogether a gentle \hing, this play. It is full of quaint humor, old- 
fashioned, homely sentiment, the kind that people who see the play will recall 
and chuckle over tomorrow and the next day. 

Miss Lippmann has herself adapted her very successful book for stage service, 
and in doing this has selected from her novel the most telling- incidents, infectious 
comedy and homely sentiment for the play, and the result is thoroughly delightful. 

Price, 60 Cents. 

(The Above Are Subject to Royalty When Produced) 

1 



The Mysterious Will 



AN ORIGINAL PLAYLET 
IN ONE ACT 



BY 
HAROLD SELMAN 



Copyright, 1914, By HAROLD SELMAN 
Under the title of "AT 2 A. M/' 

Copyright, 1921, By SAMUEL FRENCH 



All rights reserved 



New York: 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London : 

SAMUEL FRENCH. Ltd. 

26 Southampton Street 

Strand 






54^ 



"THE MYSTERIOUS WILL" is fully protected by 
copyright, and all rights are reserved. 

Permission to act, read publicly, or to make any use 
of it must be obtained from Samuel French, 28-30 West 
38th Street, New York. 

It may be presented by amateurs upon payment of 
royalty of five dollars each performance, payable to 
Samuel French one week before the date when play is 
given. 

Professional rates quoted on application. 

Whenever this play is produced the following notice 
must appear on all programs, printing and advertising for 
the play: Produced by special arrangement with Samuel 
French of New York, 



APR -9 1921 

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CAST OF CHARACTERS 

Betty Marsdon Edgar Winston's Ward 

DuRKiNWmsxoN \ ■ -Edgar Winston's Nephews 















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THE MYSTERIOUS WILL 



Scene : Plain interior doors, doors R. I and R. 3, 
l. 1. French window center. Table R. c. on 
a line with r. i. Settee above r. i. Desk above 
l. i. Chairs r. Large picture of an old man 
facing audience on flat above l. 

Stage dark at rise, except for blue light back 
of French window. Gong rings twelve. A shot 
is fired off R. 1 and the lock falls off the door. 
Enter Durkin, crosses up to c. d v looks 
out — looks about room, closes door, puts settee 
in front of it, turns on lamps — light up — takes 
a large blue paper from his pocket, crosses to 
center. 

Durkin. Yes, that's right. This is the room. 
(Reads) " By condition of this will prepared this 
day for me, Edgar Winston, you are to follow the 
directions herein given implicity." Well, that's a 
fool of a way to make a will. (Looks at picture 
L. 1.) There's his picture — huh. (Reads) "You 
are to read no farther ahead than one sentence. Fol- 
low the direction, then read the next." (Cross back 
of table) Well, he left a lot of money, so I'll follow 
it because I want it. What's my next move ? 

7 



8 THE MYSTERIOUS WILL 

(Reads) " You will find at your feet a chalk line 
leading to a desk. Follow it." (Looks at chalk 
U ne — he does so. Reads) " You are now in front 
of a desk." You idiot, anybody knows that. 

(Reads) "Open the desk " (He does so) "You 

will find a small black box." (Takes out box) Oh, 
this is what he left me, eh? (Tries to open it, 
reads) " Put the box in your pocket, follow the 
chalk line to the hall." (He crosses to door center) 
"You are not to move until exactly twelve fifteen, 
then follow the chalk line until you reach the stair- 
case." (Gong strikes) That's it. (Exits center to 
left) 

Billy. (Appears at French window, opens it 
with key and enters. Looks at watch) Well, I'm 

on time — so far I'm right. Now let's see 

(Takes paper) " At your feet you will find a chalk 
line leading to your right, follow it." ( X to table — 
reads) " You are now standing at a table." — Well, 
how did he ever guess it ? (Reads) " Turn to your 
left and walk ten paces." (He does so. Reads) 
" You are now ten steps from where you were." 
(Looks at picture) Thanks — thanks for the infor- 
mation. (Still reading) " Turn and follow the 
chalk line to the other side of the room." Uncle 
always did make me walk the chalk line. (X to 
wash stand. Reads) " You are now in front of a 
settee." — Hope he asks me to take a rest. (Reads) 
" Under the pillow you will find a small black box." 
(Looks — takes up small ring box) Well, he left 
me something anyway. Doesn't look like it would 
hold more than a nickel, but here goes. (Tries to 
open it) No, it don't — well, if I ever make a will, 
I'll put my money in the bank, so that people won't 
have to walk four miles into the country to get it. 
(Reads) " Put the box in your pocket, move the 
settee away from the door. (Moves settee. Reads) 



THE MYSTERIOUS WILL 9 

Now follow the chalk line to the hall. (X up to 
c. dJ At 12:30 follow the hall to the staircase, 
and from there to the coal bin." I'll bet my next 
move will be to the ash can. (Gong rings. He 
exits) 

Betty. (Enters r. i.) Oh, what a weird idea. 
Why Mr. Winston couldn't have given me what he 
wanted to without all this trouble, I don't know, but 
he said I'd get something worth while. Now let's 
see. (Takes out paper) Yes, it's right there — so 
far things have been just as he said. I heard the 
shot, and the door was open for me. (Reads) 
' You are now standing at a table." — I am not. 
(Reads) Oh, I skipped something. (Reads) "Walk 
four paces." (Walks) "You are now standing at a 
table." (Reads) "Open the drawer in the table and 

you will find a key "(Opens drawer) Yes, here 

it is — " At your feet you will find a chalk line, fol- 
low it fifteen paces to your left " (She walks 

fifteen paces. Reads) "Rap three times on the 

wall " (She raps — three raps are answered 

from the other side — Screams) Oh, the place is 
haunted. I wish I could have brought someone with 
me, but it says I must come alone, and tell no one 
the conditions of this will. Well, I don't like any 

of it — but (Reads) "Follow the chalk line to 

the hall." (X left) "At exactly a quarter of one, fol- 
low the hall to the staircase and " (Gong rings) 

I know Mr. Winston must have been crazy. (Exits 
center to right) 

Billy. (Enters r. 3 — X to c. Following line, 
turns down stage to center) Uncle, you are kidding 
me beautifully, I can see right now you're not going 
to leave me a dollar, but why rub it in? (Reads) 
" You will now move the settee to where you found 
it in front of the door." (Moves stand) Just as 
you say, Uncle. If I could have brought someone 



io THE MYSTERIOUS WILL 

with me, I'd have lots of fun, but I'm not to tell a 
soul. (Gong rings one) Gee, I'm late. (Reads. 
Walks like soldier following line to l. i, military 
turn, crosses to front of desk, military turn, crosses 
to l. 3, military turn, and exits) 

Durkin. (Enters l. i. Head down, looking at 
chalk line) I heard the rap all right, there must be 
someone else here. (Sees settee) No, they didn't 
come in there. (Turns, looks at picture) You old 
idiot ! Well, he said there was something here for me 
and I'm going to find it. (Follows line to in front 
of table — turns, follows chalk line to left — meeting 
Betty center — they bump into each other) 

Betty. (Enters l. i. Screams) 

Durkin. God — Betty ! 

Betty. Oh, I'm glad to see someone. (Durkin 
puts out his arms as if to take her) Even you. 
(Durkin steps back — Both hide papers behind 
them) What are you doing here? 

Durkin. I see what it means now — it's you. 

Betty. Yes, it's me, but I don't see what it 
means. 

Durkin. You've been sent here for me. 

Betty. (Turns and reads) No, I was sent to 
get something worth while. 

Durkin. I've always told you I wanted you — 
now I see Uncle wanted me to have you, too. 

Betty. I've always told you I didn't want you, 
and I don't know what Uncle wanted. 

Durkin. He was your guardian. 

Betty. Yes, and I always did what he asked. 

Durkin. His dying wish must have been for us 
to meet here alone to-night. (Comes close to her) 

Betty. If he wished that, he ought to die. 

Durkin. Oh, is that so. (X to c. up stage) 
How did you happen to come here to-night? 

Betty. I'm following instructions. I've made 



THE MYSTERIOUS WILL n 

Up my mind to go through with it, but if this is the 
way it's going to turn out, I'm going to follow the 
chalk line right out that window. (Starts for win- 
dow, one step) 

Durkin. (Stops Betty) No, you're not; you 
don't want to be left a pauper, do you? 

Betty. No. 

Durkin. Well, if he's left you money, you'll 
take what goes with it. (Indicating himself — crosses 
right in front of table) He always told me I 
couldn't have you. 

Betty. (Comes center) What makes you think 
he changed his mind? 

Durkin. I'll tell you. When his will was read, 
I was given a paper. I came here to-night to follow 
the instructions in it. The old idiot has me chasing 
all over the house. (The gong rings — both turn 
away to look at wills — they must give a full view 
of center door) 

Billy. (Crosses stage — between French window 
and center door, carrying a coal shovel) 

Durkin. He has timed every move, but it's com- 
ing out all right. I've found you and it's going to 
lead me to that pile of money. 

Betty. It's going to lead me to the insane asylum. 

Durkin. Now you're coming with me, because 
I'm not going to lose sight of you. (Comes to her, 
center) 

Betty. Which way are you going? (The gong 
rings — they both turn and look at wills. Billy 
crosses back of center door with a coal scuttle) 

Durkin. At one o'clock follow a line to that 
door, then I go to the roof. 

Betty. (Reads) I'm not going your way. (X 
up stage) 

Durkin. Yes you are, because I'm going to make 
you. (Takes one step towards her) 



12 THE MYSTERIOUS WILL 

Betty. (Turns c.) Did you have any love for 
your uncle? 

Durkin. No, I hated him, but he didn't know it. 

Betty. You forged his name once. 

Durkin. Yes, but he let me off — he liked me, 
that's all. 

Betty. And you really think he forgave you 
for it? 

Durkin. Why, of course he did, or he would 
not have sent me here to-night to get this money, 
and had you here for me at the same time, eh? 

Betty. Maybe you're right, but he must have 
had an awful grudge against me. 

Durkin. We're alone here, and that's the way 
I've always wanted you. Come here, Betty, I want 
a kiss. (Takes hold of Betty — is about to kiss her. 
Gong rings one — both look at wills) 

Betty. (X to l. i. Raps three times — raps re- 
turned — Durkin starts) Next time be sure you're 
alone. 

Durkin. Is there someone else here? 

Betty. You can't prove it by me, but you'd bet- 
ter be on your way to the roof. 

Durkin. (Looks at paper) Yes, I can't lose 
that money. (Exits up to c. d. and exits left) 

Betty. (Looks at paper, starts for l. i, looking 
at floor — turns right, follows line right) 

Billy. (Enters l. i, looking at floor, following 
line; bumps into Betty c.) Well, bless my soul, 
Betty. 

Betty. Hello, which way are you going? 

Billy. What? 

Betty. No, no, I mean — what I was going to 
say was I — I — hello 

Billy. What in the world are you doing here? 

Betty. (Starts as if to tell him — stops) I'm 
not supposed to tell. 



THE MYSTERIOUS WILL 13 

Billy. Suppose I guess? 

Betty. Well, / couldn't stop you. 

Billy. You're trying to get at the bottom of 
something. 

Betty. Well, I've been to the top. I may go to 
the bottom next. Just a minute — I'll see. (Reads) 

Billy. Gee, I hope you're going my way. 

Betty. So do I. 

Billy. You do. (Goes to her — Betty puts out 
hand, stops him) 

Betty. If you were, I'd let you go for me, and 
I'd wait here. 

Billy. Oh! (Cross rJ 

Betty. Are you allowed to tell what you came 
for? 

Billy. No, but I can tell you what you came 
for. 

Betty. Can you? Then what? 

Billy. You're following the directions of Mr. 
Winston's will, aren't you? 

Betty. (Goes as if to tell him — stops) I'm not 
going to say yes or no, but I'll bet that's why you 
came. What do you think you're going to find? 

Billy. I don't care whether I find anything 
more. (Goes to take her in his arms) 

Betty. (Stops him) Did you like your uncle? 

Billy. I should say I did. 

Betty. I loved him — he was about the only 
father I ever knew. 

Billy. Well, no father ever loved a girl any 
more and you can bet he's going to see you're looked 
after now that he's gone. 

Betty. I hope he's considered my feelings. Now 
if he wants me to marry your cousin Durkin 

Billy. No — Durkin put him in a hole at one 
time and he let him off — he always said he'd pay 
him back some day. Now I don't think he'd turn 



14 THE MYSTERIOUS WILL 

about and give him the dearest, sweetest girl 
in the world. (They are about to kiss. Chimes 
ring) 

Billy. (Both turn, read paper) Excuse me a 
minute. (Cross r. Reads) " Take the box from 
your pocket and hold it in front of you." (He 
does it) 

Betty. " You will find a small black box di- 
rectly in front of you — take the key and open it." 
(She opens box — turns azuay) 

Billy. A ring (Reads) " Put it on the 

third finger of the left hand of the first woman you 
see." I saw you first ! (Puts ring on her finger. 
Reads) " Now kiss her." I wonder if she'll let 
me — Well, I have to take a chance, uncle says so. 

Betty. (Reads) " Allow yourself to be kissed." 
(Billy crosses to her c. — finds her waiting to be 
kissed. They kiss. Reads) " Follow the chalk line 
to your hall." (X up stage to c, turns to l., turns 
again to l. to c. entrance, reads) " Now follow on 
to the cellar." Billy, I'm getting at the bottom of 
it. (Exits r. i.) 

Billy. Give my regards to the coal bin. (Looks 
at picture) Uncle, you grand old man, you've made 
life worth living. 

Durkin. (Off l. i.) You don't say so. 

Billy. Good Lord ! (Turns to r. front of table) 

Durkin. (Enters reading) " When you have 
said, 'you don't say so/ come to the center of the 
room." (Xtoc.) ' 

Billy. Hello, Durk ! 

Durkin. (Starts) So you had to butt in too, 
eh? 

Billy. I'm here, if that's what you mean. 

Durkin. Now I know uncle was crazy. Do 
you know that Betty's here? (Comes r. to him) 

Billy. Yes. 



THE MYSTERIOUS WILL 15 

Durkin. Did she come with you — did she? 
Well, she won't go away with you. 
Billy. Why? 

Durkin. Because she's going with me— now 
take my advice and get to the end of your business 
here as quick as you can. 

Billy. (Turns, looks at will) I don't even move 
till 1 :3c 

Durkin. Oh, you're in on the will too, are you? 
Billy. I'm in on the preliminaries. 
Durkin. That's as far as you'll get. He 
wouldn't leave you anything. You're on the wrong 
side of the family. 

Billy. Well, you're on the right side — you ought 
to get it all. 

Durkin. You bet I will. (X to l v stops at end 
of Billy's speech with a quick turn) 

Billy. You took some of it before he even 
died, didn't you? 

Durkin. What do you mean? 

Billy. Why, that check you 

Durkin. Don't you ever mention that again 

or (Reaches for gun. Gong rings. Both look 

at papers) 

Betty. (Enters c, carrying large money bag, 
places it on table) There it is, all Mr. Winston 
owned — turned into gold. 

Durkin. (Starts for money. Betty has her 
hands on bag — Durkin puts his hands on top of 
hers — Betty throws him off) 

Betty. Wait a minute, does it say anything there 
about you grabbing it ? 

Durkin. (Turns and looks at will) No, but you 
can bet I'm going to get what's coming to me. 

Betty. That was his motto (Points to pic- 
ture) Everybody '11 get what's coming to them. 
Durkin. (To Billy J Well then, you know 



16 THE MYSTERIOUS WILL 

what's coming to you, don't you? (Coming down 
stage, rolls up sleeve} 

Billy. No, I haven't looked that far ahead. Is 
that in there ? (Looks at will) 

Durkin. It's a good thing we've all met here 
to-night — now we can settle this thing once and for 
all. 

Betty. Let uncle settle it. 

Durkin. (Back of Betty — Over her shoulder) 
But first I want to tell you, as I've always told you, 
you belong to me. 

Betty. You'll begin to believe that after a while. 

Durkin. I'll always be where you are — if you 
marry another man, I'll kill him. (Slaps hand on 
table, looks at BillyJ 

Betty. I'd love to be a widow. 

Billy. Yes, that would be nice (Starts) 

What? It was my uncle's greatest wish to see her 
happy 

Durkin. Yes. (X to c.) 

Billy. I guess he must have figured out the way 
before he died. 

Durkin. Sure he did — he knew the way it had 
to be, because I told him I'd make her life miserable 
if she didn't marry me. (Points finger at her) 

Betty. (Points finger at him) And I told him 
you'd make it miserable if you did. 

Durkin. What's that on your finger? 

Betty. You mean my finger nail ? 

Durkin. No, I mean that ring — who gave it to 
you? 

Billy. I did. 

Durkin. (Laughs) Well, that's funny. 

Billy. (Imitates his laugh) It was funny to 
me too, but there's a lot of funny things going on 
here. 



THE MYSTERIOUS WILL 17 

Durkin. All right, go ahead and get married. 
(Up to c. D.J 

Betty. Oh, isn't he nice — we have his consent. 
(To front of table) 

Durkin. (Comes back down stage to them) 
But I'll come to live with you just to keep you com- 
pany. 

Betty. That'll be nice. 

Billy. Oh, that will be lovely. 

Durkin. What are you going to live on? 

Betty. Oh, bacon and eggs for breakfast, soup, 
fish and meat for dinner and 

Durkin. What do you buy it with? 

Betty. (X back to table — points to bag) This, 
I guess. 

Durkin. Well, I'm not taking any chances on 
this will, so I'll just make sure of my end to take 
this now. (All get their hands on bag at same 
time) 

Billy. You leave that alone. 

Durkin. (Draws gun) You don't think I'm 
going to let that out of my sight, do you? 

Betty. Do you think your uncle wanted you to 
have it? (Gong rings — all leave bag. All look at 
papers) 

All. (Together) Yes, he did! (All look at 
one another) 

Billy. (Follows chalk line in front of table to 
c.j turns up stage. Durkin is standing on line. 
Shoves him) Oh, get off the chalk line. (Exits 

R- 3) 

Betty. (Follows line to left. Durkin is stand- 
ing on it) Oh, get out of my way. (Exit l. 1) 

Durkin. By Jove, it's all coming my way. 
(Reads) " Put the bag out the window and take 
it with you when you leave." (Goes out window) 

Betty. (Enters l. zmth ticket) A ticket to 



18 THE MYSTERIOUS WILL 

South Africa. I wonder what that's for. (Reads) 
" Give it to the first man you see." 

Durkin. (Enters through window) 

Betty. Well, he looks like a man — I'll give it 
to him. (Gives ticket to Durkin ; he looks at it) 

Durkin. Betty, we're going to live in South 
Africa. 

Betty. Do we both go on the one ticket ? 

Durkin. Don't worry — another one will turn 

Betty. Where do you think Billy will go ? 

Durkin. He can go to 

Betty. That'll be much warmer than South 
Africa. 

Durkin. You don't think I'd let him have you, 
do you? 

Betty. You should be satisfied you got the 
money and a ticket out of the country. 

Durkin. I'm satisfied, but I'm waiting for your 
ticket. (Crosses in front of desk) 

Billy. (Enters c. with two tickets, reads) 
" Keep one yourself and give one to the first woman 

you see." Here, woman (Gives ticket to 

Bettyj 

Durkin. (Comes between them) Ah, there's 
your ticket now. 

Billy. I've got one, too. 

Durkin. To where? 

Billy. Coney Island. 

Durkin. (Laughs) That's a good place for you. 
Betty's going with me. 

Billy. No, she isn't. (Argument — ad lib) 

Betty. Fight it out, boys, I've got nothing to 

(All look at papers) 

Durkin. "Take the box out of your pocket and 
hold it directly in front of you," 



THE MYSTERIOUS WILL 19 

Betty. "Take the key and open the box you see 
in front of you " 

Billy. "Watch carefully what this box contains." 
^Betty opens box, Durkin takes out revolver) 

Durkin. (Reads) " Give the revolver you 
brought with you to the first woman you see." 
(Takes gun out of hip pocket and gives it to Betty. 
Durkin keeps the gun he takes out of box, they 
both turn and point guns at Billy,) Looks like 
uncle wasn't taking any chances with you. ('Billy 
crosses to c. reading, sees guns, turns R.) 

Billy. Wasn't that nice of uncle. 

Durkin. Now we're going. (Takes Betty by 
arm) Come on. 

Betty. Don't be so previous — why don't you 
wait ? 

Durkin. I've got all I want, you and the money, 
come on. 

Billy. Take your hands off her. (Reading 
paper) 

Durkin. (Looks at paper) No. 

Billy. Then I'll make you. (Starts for him — 
back of table) 

Durkin. (Fires at him — Billy falls back of 
table) 

Betty. (Screams) What have you done? 

Durkin. Just what uncle told me to — read it. 
(Shows her paper) 

Betty. Nevertheless, you're a murderer, and I'm 
a witness to it. 

Durkin. Yes, but you won't tell — we'll be in 
South Africa before anyone knows. (X front of 
table) 

Betty. Do you think I'd go with you? 

Durkin. I know you will. Uncle put this in 
my hand to have that done — now you're coming if 



20 THE MYSTERIOUS WILL 

I have to take you at the point of it. (Starts to 
raise gun — Betty covers him first.) 

Betty. But don't forget uncle put one in my 
hand, too. (Covers him with gun) Now, there's 
just one chance for you — you're a murderer ; get 
out of the country or I'll tell the truth and 

Durkin. You wouldn't ! 

Betty. Wouldn't I ? I'd be only too glad. I've 
scarcely known a happy moment since I first saw 
you, but I'm going to find happiness now, because 
I'm never going to see you again. If you ever come 
back, I'll send you to the chair. 

Durkin. No, no — I only did what uncle told 
me to. 

Betty. That would be a poor excuse in court. 
You've only got one chance — go away — leave that 
gun beside him, I'll say it was suicide. 

Durkin. (Drops gun) You will ? 

Betty. Yes. (Durkin goes above Billy, puts 
gun beside him) 

Durkin. I don't know what the old fool meant 
by it all. 

Betty. That can't matter now. Take the bag 
with you, get the first boat for South Africa and 
never come back again. 

Durkin. (Comes to her) And you promise not 
to tell? 

Betty. I promise! 

Durkin. (To c.) Well, I'm glad I got him— 
anyway, this is the last you'll ever see of me. (Exits 
through zvindozv) 

Betty. (Crosses up to window, looks after Dur- 
kin — long pause) 

Billy. (Still lying on floor) Has he gone? 

Betty. Yes, he's gone, get up. 

Billy. (Sits up, looks at will. Reads) "You 



THE MYSTERIOUS WILL 21 

are not dead." (Rises, comes to l. feeling himself, 
etc.) That's one part of this I didn't like. 

Betty. How would you like it if he used this 
one? (Shows other gun) It has real bullets in it. 

Billy. (Lays gun on table) I'm glad he didn't 
get them mixed. 

Betty. (Reads) " It was the only way, children. 
Now Durkin will never bother you again. Don't be 
sorry, he took the bag — it was only full of pennies. 

Billy. We should be pretty happy, Betty, even 
if we didn't have any money. We have us and 

Betty. And two tickets to Coney Island. 

Billy. Is yours to Coney Island, too ? (Both sit 
on settee under picture) Thank you, dear old Mr. 
Winston — you've made us happy, even if you didn't 
leave us a cent. 

(Chimes ring 2 — sound of machinery working be- 
hind picture. The string is pulled, opening the bot- 
tom of picture, a pile of loose bills fall over them, 
Billy and Betty look at all the money.) 

Billy. Betty, look at all the money. 

CURTAIN 

(Second Curtain — Betty holding dress, Billy 
pulling money in it.) 



22 THE MYSTERIOUS WILL 



PROPERTIES 

Old fashioned furniture. 

i Library table (with drawer). 

2 Settees. 

1 Ladies 5 writing desk. 

3 Chairs. 
Grandfather's clock. 

i Small table with lamp on it. 

2 Pedestals with palms, 
i Large coal scoop. 

i Coal scuttle. 

4 Sofa Pillows. 

3 Wills, the regulation size, with blue covers and 

three sheets of legal paper in each. 
2 Shure-fire revolvers. 
Blank shells for revolvers, 
i Small box in which a revolver will fit. 
i Ring box. 
i Ring. 

i Small key, supposed to fit both the boxes, 
i Cloth bag, supposed to be filled with gold. It 

should be 8 or I o inches high and be tied with 

red tape at the top and sealed with a red seal. 
i Gong and padded hammer to strike it. 
2 Small railroad tickets, 
i Long strip ticket or steamship ticket, 
i Lock, 
i Picture of an old man in a shadow frame. This 

picture should be 20 by 30. See diagram. 
200 Pieces of stage money. 
Several old-fashioned pictures. 



: . 



THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2% hours. 

This is a genuinely funny comedy with splendid parts for "Aunt Mary," 
"Jack," her lively nephew; "Lucinda," a New England ancient maid of all work; 
"Jack's" three chums; the Girl "Jack" loves; "Joshua," Aunt Mary's hired 
man, etc. 

"Aunt Mary" was played by May Robson in New York and on tour for over 
two years, and it is sure to be a big success wherever produced. We strongly 
recommend it. Price, 60 Cents. 

MRS. BUMSTEAD-LEIGH. 

A pleasing comedy, in three acts, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 females. One interior scene. Cos- 
tumes modern. Plays 2J4 hours. 

i . . 

• Mr. Smith chose for his initial comedy the complications arising from the 
endeavors« of a social climber to land herself in the altitude peopled by hyphenated 
names — a theme permitting innumerable ^complications, according to the spirit of 
the writer. 

This most successful comedy was toured for several seasons by Mrs. Fiske 
with enormous success. x Price, 60 Cents. 

MRS. TEMPLE'S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and William 
Morris. 5 males, 4 females. One interior scene stands throughout the 
three acts. Costumes modern. Plays 2 x / 2 hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is an abund- 
ance of fun without any taint of impropriety or any element of offence. As 
noticed by Sir Walter Scott, "Oh, what a tangled web we weave when first we 
practice to deceive!" ' > 

There is not a dull moment in the entire farce, and from the time the curtain 
rises until it makes the final drop the fun is fast and furious. A very exceptional 
farce. Price, 60 Cents. 

THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of "Tempest and 
Sunshine," etc. Characters, 4 males, 7 females, though any number of 
boys and girls can be "introduced in the action of the play. One interior 
and one exterior scene, but can be easily played in one interior scene. 
Costumes modern. Time, about 2 hours. 

The theme of this play is the coming of a new student to Jhe college, her 
reception by the scholars, her trials and final triumph. 

There are three especially good girls' parts, Letty, Madge and Estelle, but 
the others have plenty to do. "Punch" Dooliftle and George Washington Watts, 
a gentleman of color, are two particularly good comedy characters. , We .can 
strongly recommend "The New Co-Ed" to high schools and amateurs. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 

2 



DOROTHY'S NEIGHBORS. 

A brand new comedy in four acts, by Marie Doran, author of "The 
New Co-Ed," "Tempest and Sunshine," and many other successful plays. 
4 males, 7 females. The scenes are extremely easy to arrange ; two plain 
interiors and one exterior, a garden, or, if necessary, the two interiors 
will answer. Costumes modern. Plays 2^4 hours. 

The story is about vocational training, a subject now widely discussed; also, 
the distribution of large wealth. 

Back of the comedy situation and snappy dialogue there is good logic and 
a sound moral in this pretty play, which is worthy the attention of the experi- 
enced amateur. It is a clean, wholesome play, particularly suited to high school 
production. Price, 30 Cents. 



MISS SOMEBODY JELSE. 

A modern play in four acts by Marion Short, author of "The Touch- 
down," etc. 6 males, 10 females. Two interior scenes. Costumes mod- 
ern. Plays 2*4 hours. 

This delightful comedy has gripping dramatic moments, unusual character 
types, a striking and original plot and is essentially modern in theme and treat- 
ment. The story concerns the adventures of Constance Darcy, a multi-million- 
aire's young daughter. Constance embarks on a trip to find a young man who 
had been in her father's employ and had stolen a large sum of money. She 
almost succeeds, when suddenly all traces of the young man are lost. At this 
point she meets some old friends who are living in almost want and, in order to 
assist them through motives benevolent, she* determines to sink her own aristo- 
cratic personality in that of a refined but humble little Irish waitress with the 
family that are in want. She not only carries her scheme to success in assisting 
the family, but finds romance and much tense and lively adventure during the 
period of her incognito, aside from capturing the young man who had defrauded 
her father. The story is full of bright comedy lines and dramatic situations and 
is highly recommended for amateur production. This is one of the best come- 
dies we have ever offered with a large number of female characters. The dialogue 
is bright and the play is full of action from start to finish; not a dull moment in 
it. This is a great comedy for high schools and colleges, and the wholesome- 
story will, please the parents and teachers. We strongly recommend it. 

Price, 30 Cents. 



PURPLE AND FINE LINEN. 

An exceptionally pretty comedy of Puritan New England, in three 
acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female cha 
acters. 

This is the Lend A Hand Smith' College prize play. It is an admirable pi 
for amateurs, is rich in character portrayal of varied types and is not too dime 
while thoroughly pleasing. Price. 30 Cen 

(The Above Are Subject to Royalty When Produced) 

LIBRARY OF CONGRESS 




LIBRARY OF CONGRESS 





017 400 168 6 



